Wednesday

SEPTEMBER 15TH

BIRTHDAYS





1903
Roy Acuff, C&W vocals/guitar
b. Maynardsville, TN, USA.
d. Nov. 23, 1992.
né: Roy Claxton Acuff
(15 September 1903 – 23 November 1992) was an American country musician. He was born in Maynardville, Tennessee, third of five children. He played semi-professional baseball, but a sunstroke in 1929 and a nervous breakdown in 1930 ended his aspirations to play for the New York Yankees.

He then turned his attention to his father's fiddle and began playing in a traveling medicine show. He toured the Southern United States and eventually formed a band called "The Crazy Tennesseans."
In 1936, he recorded a cover of the traditional song "The Great Speckled Bird". His performance of it in his Grand Ole Opry debut was not well received. Acuff became a regular on the Grand Ole Opry in 1938, forming a backing band called the Smoky Mountain Boys, led by friend and Dobro player Bashful Brother Oswald. Acuff released several singles in the 1940s such as The Wreck on the Highway, Beneath That Lonely Mound of Clay and The Precious Jewel. He later formed a music publishing venture with Chicago songwriter Fred Rose. Hank Williams, the Everly Brothers and Roy Orbison, among others, all initially signed with Acuff-Rose Music.
Political Career Acuff had a brief affair with politics, losing a run for the office of Governor of Tennessee as a Republican in 1948. Acuff later campaigned in 1970 for his friend Tex Ritter in his campaign for GOP nomination for U.S. Senate in Tennessee.
Acuff spent most of the 1950s and 1960s touring constantly, becoming one of the hottest tickets in country music. By the 1970s Acuff performed almost exclusively with the Grand Ole Opry, at Opryland USA, greatly legitimizing it as the top institution in country music.
~Trivia: A popular legend is that Japanese troops during World War II would enter battle yelling, "To hell with Roy Acuff." In 1962, Roy Acuff was inducted into the Country Music Hall of Fame. For his contribution to the recording industry, he has a star on the Hollywood Walk of Fame located on 1541 Vine St. Roy Acuff is distantly related to Amy Acuff.
Acuff was initiated as an Entered Apprentice at the East Nashville Freemasonry Lodge in 1943, and raised to Master Mason in 1944. He was made a 33rd Degree Mason on 21 October 1st.
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1928
Julian Edwin "Cannonball" Adderley
alto/tenor sax, b. Tampa, FL, d. August 8, 1975, Gary, IN, USA.
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.
During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke.
~by Scott Yanow
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1896
Bert Ambrose, Violin/Leader
b. London, England, UK.
d. June 12, 1971, Leeds, England, UK.
Ambrose (bandleader)
Benjamin Baruch Ambrose (15 September 1896–11 June 1971) was an English bandleader and violinist. His professional name was officially Bert Ambrose, but he was universally known simply as Ambrose. ~Early life and career Ambrose was born in the East End of London; his father was a Jewish wool merchant. He began playing the violin at a young age, and soon after he was taken to the United States by his aunt he began playing professionally — first for Emil Coleman at New York's Reisenweber's restaurant, then in the Palais Royal's big band. After making a success of a stint as bandleader, at the age of twenty he was asked to put together and lead his own fifteen-piece band. After a dispute with his employer, he moved his band to another venue, where they enjoyed considerable popularity.

Ambrose & His Mayfair Hotel Orchestra - Willow Weep For Me
In 1922 he returned to London, where he was engaged by the Embassy Club to form a seven-piece band. Ambrose stayed at the Embassy for two years, before walking out on his employer in order to take up a much more lucrative job in New York. After a year there, besieged by continual pleas to return from his ex-employer in London, in 1925 he was finally persuaded to go back by a cable from the Prince of Wales: "The Embassy needs you. Come back — Edward". This time Ambrose stayed at the Embassy Club until 1927. The club had a policy of not allowing radio broadcasts from its premises, however, and this was a major drawback for an ambitious bandleader; this was largely because the fame gained by radio work helped a band to gain recording contracts (Ambrose's band had been recorded by Columbia Records in 1923, but nothing had come of this). He therefore accepted an offer by the May Fair Hotel, with a contract that included broadcasting.
Ambrose stayed at the May Fair for six years, during which time the band made recordings for Brunswick Records, HMV, and Decca Records. This period also saw the musical development of the band, partly as a result of Ambrose's hiring of first-class musicians, including Sylvester Ahola, Ted Heath, Joe Crossman, Joe Jeannette, Bert Read, Joe Brannelly, Dick Escott, and Max Goldberg.

~The 1930s & 1940s In 1933 Ambrose was asked to accept a cut in pay at the May Fair; refusing, he went back to the Embassy Club, and after three years there (and a national tour), he rejected American offers and returned to the May Fair Hotel in 1936. He then went into partnership with Jack Harris (an American bandleader), and in 1937 they bought a club together (Ciro's Club); they alternated performances there until a disagreement led to the rupture of their partnership. Ambrose worked at the Café de Paris until the outbreak of World War II, when he again went on tour. His major discovery in the years leading up to the war was the singer Vera (later Dame Vera) Lynn (b. 1917), who sang with his band from 1937 to 1940 and, during the war, became known as the "Forces' Sweetheart". Lynn married Harry Lewis, a clarinettist in the band, in 1939. Other singers with the Ambrose band included Sam Browne, Elsie Carlisle, Dennys Dennis (who recorded a number of duets with Vera Lynn), and Evelyn Dall.
After a short period back at the May Fair Hotel, he retired from performing in 1940 (though he and his orchestra continued to make records for Decca until 1947). Several menbers of his band became part of the Royal Air Force band, the Squadronaires, during the war. Ambrose's retirement was not permanent, however, and he formed and toured with the Ambrose Octet, and dabbled in management. In the mid-1950s, despite appearances back in London's West End and a number of recordings for Decca, Ambrose was – in common with other bandleaders – struggling; rock and roll had arrived. He was forced to start performing in small clubs with casual musicians, and his financial position deteriorated catastrophically. His situation was saved, however, by his discovery of the singer Kathy Kirby (b. 1940), whom he heard singing at the age of sixteen at the Ilford Palais) and whose career he promoted.
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Photo Sharing and Video Hosting at PhotobucketIt was during the recording of one of Kirby's television programs (at the Yorkshire Television studios) that Ambrose collapsed, dying later the same night. His music was kept alive after death by, among others, the Radio 2 broadcasters Alan Dell (1924–1995) and Malcolm Laycock, the latter continuing to play his records into the 21st centuury.
Kathy Kirby official web site includes photos of Ambrose from her own private collection.

1915
Lou Breese, leader
b. Boomer, WV, USA. d.
né: Lou Calabreese.
His real name was Luigi G. Calabrese and he was born in Milford, Massachusetts. When he was five years old he began taking violin lessons but in later years he concentrated on the trumpet. He graduated from the New England Conservatory of Music and paid his way through school by playing tenor banjo at society debut parties and campus functions in the Boston area.
Under the name of LOU BREESE he had his own radio show and dance band that was popular in the 1930's and 1940's. His career encompassed almost every facet of the entertainment world; motion pictures, night clubs, theaters and radio.
**Bands Lou worked with:
Paul Specht and His Orchestra
The Georgians
The Capitolians
Lou Calabrese and His Hot Shots
Bert Lown and His First String Orchestra
**Discography:
Breezing Along with Lou Breese,
His Banjo and Orchestra
Decca DL 74346
Lou Calabrese (VIDEO)




1915
Phil Brito, singer 
b. Boomer, WV. né: Philip Colombrito. 
Sang with the Al Donahue band. Singer, songwriter ("Mama"), composer, author, educated in high school, then a singer with the dance orchestras of Jan Savitt and Lloyd Huntley.
He appeared on radio, in films, on theatre stages and television, and in night clubs, and made many records. Joining ASCAP in 1960, his other song compositions include "I Could Swear It Was You".'


1915
Albert Aloysius "Al" Casey, guitar
b. Louisville, KY, USA
d. Sept (7-8-9?), 2005 (a few days short of his 80th birthday).
Best recalled for his work with Fats Waller (a teenager when Waller hired him), but also worked with Sammy Clayton, King Curtis, Sammy Profit, Teddy Wilson, Billie Holiday, and Fats Navarro, among others.
Albert Aloysius Casey (September 15, 1915 - September 11, 2005) known professional as Al Casey, was an African American swing guitarist who played with Fats Waller on some of his famous recordings. Casey composed the well known tune Buck Jumpin which was recorded by Waller.
Casey was born in Louisville, Kentucky to Joseph and Maggie B. Johnson Casey. He grew up in New York City and attended DeWitt Clinton High School. He joined Thomas Fats Waller's band in the early 1930s, and worked with Waller until he died in 1943 and can be heard on hundreds of recordings. In 1944, he briefly recorded with Louis Armstrong. He also worked with Clarence Profit's band that same year. In 1959 he contributed to an album called 'Paul Curry Presents The Friends Of Fats' on the Golden Crest label.
Denzil Best, Al Casey, John Levy, Pied Piper, New York, NY , 1947.
Between stints with Waller, Casey worked with Teddy Wilson from 1939 to 1940. He recorded with Billie Holiday, Frankie Newton, and Chuck Berry, and even led his own a trio for a short time. Remembering his time, years later, working with Holiday, Casey commented that he was in love with her.
Casey freelanced over decades working with King Curtis from 1957 to 1961, where he played Rhythm and Blues. He continued playing into his late 80's with The Harlem Blues & Jazz Band which he joined in 1981.
He died four days before his ninetieth birthday of colon cancer at the Dewitt Rehabilitation and Nursing Center in New York.
*Birthdate debate
According to jazz researcher Eric B. Borgman the son of jazz journalist George A. Borgman Casey's birthdate may be incorrect. While double checking his birthdate with U. S. census records he found Albert Casey listed as being 2 and 1/2 years old in the 1920 Kentucky census which was recorded on January 9, 1920. Borgman says this shows a 1917 birthdate. He further suggests that September may be incorrect as well. This new birthdate information would suggest that he was actually about 88 years old when he died.

1908
George "Kid Sheik" Cola, trumpet
b. New Orleans, LA, USA
d. Nov. 7, 1996, New Orleans, LA, USA.
Age 88.
One of the wonderful old New Orleans Dixielanders.
~by Ron Wynn
A slashing, aggressive lead trumpeter, always at the front of a jam session. Kid Cola took some informal lessons from Wooden Joe Nicholas, then started his first band in 1925 in New Orleans. He spent the next 18 years playing in the Storyville district. Colar attended the US Air Force Music School from 1943 to 1945, then headed another band before joining George Lewis at Manny's Tavern in 1949.
Colar was part of the Eureka Brass Band and Harold Dejan's Olympia Brass Band in the '50s. During the '60s he recorded with his own groups the Swingsters and Storyville Ramblers, then toured England in 1963 with Barry Martyn's band. He worked regularly in the late '60s with former band member Capt. John Handy, recording with him in Europe and New York in 1966 and 1968. He was a regular at Preservation Hall in the '70s and '80s, and made another visit to England as a guest soloist in 1976.
Chris Barber and Stanley Dance in New York. 1910
Stanley Dance, Writer/Critic 
b. Braintree, England, UK, d. Feb. 22, 1999, age 88
The oldest active jazz critic, Stanley Dance has done a great deal through the years to help swing and mainstream jazz musicians. In fact "mainstream" was his term which he came up with in the 1950s to describe music played by musicians who were stylistically between dixieland and bebop. Dance first started writing about jazz for Jazz Hot in France back in 1935. He moved to the U.S. in 1937 and has since written for virtually every jazz periodical including Down Beat, Metronome, Jazz Journal (1948-76) and Jazz Times (starting in 1980) plus the New York Herald Tribune and Saturday Review. Dance has occasionally produced recording sessions through the years (most notably for Felsted in the 1950s but also for Columbia, Black Lion and RCA) and has in his own way influenced jazz history.
For example, in 1964 he talked Earl Hines into appearing at a couple of concerts in New York that resulted in Hines being rediscovered. Dance's most important contributions to jazz have been his books, most notably -The World Of Duke Ellington, -The World Of Swing, -The World Of Earl Hines and -The World Of Count Basie; in addition he assisted on the autobiographies of Dicky Wells and Charlie Barnet. These valuable books contain many detailed interviews with important swing era veterans held just a few years before most of them passed away. Dance had a close relationship with Ellington (who he helped out with his memoirs) and he has contributed to a countless number of liner notes dealing with Ellington, Basie, Hines, Jimmy Lunceford and their sidemen.
Stanley Dance's reviews in Jazz Times have often been controversial due to his distaste for bop but he has done a great deal to champion the styles that he does love. His wife Helen Oakley Dance, who worked with Ellington's sidemen on their small group dates of the 1930s, has also contributed to many magazines and written a biography on T-Bone Walker.
~ Scott Yanow

1894
Jack Denny, bandleader
d. 1950 The man whose name resembles a comic genius with a single typo led a high society dance band in the '30s and '40s. Jack Denny had hit records during this period but was"Nevertheless" literally drummed out of business by changing musical styles. The lights were particularly low in Denny's den following a fiasco in which he and his band were upstaged by an opening act. That was Xavier Cugat, fronting a percussion-laden band that was so hot that the stars of the show seemed mere piddlers in contrast. Denny became so furious at all the attention Cugat was getting that he went to the management and threatened to quit if something wasn't done. He was told to go ahead and quit and was promptly replaced by Leo Reisman's band.
Things weren't always so bleak for the group known variously as the Jack Denny Orchestra, Jack Denny and His Orchestra and the Jack Denny Studio Orchestra. The group's sound was at times especially unique due to the lack of a brass section, an effect that was indeed intentional on Denny's part and not just the result of a mass, or rather brass walkout. Denny presented his own vocals and that of featured singers on a cushy bed of saxophones and strings. Close listening revealed extra clarinets and oboes in the reed section, an effect that may have gone over the heads or under the feet of dancers at venues such as Montreal's Mount Royal Hotel and the Waldorf-Astoria in New York City.
Jack Denny & His Orchestra - Sharing (My Love With You)
Denny continually experimented with his instrumentation, putting a total of three pianists onstage at once during one of his Montreal runs. His recordings with RCA Victor and Brunswick were made to sound much more in uniform with what every other group was doing, although the non-brass outfit does show up on 1932 RCA sides. Highlights of Denny's pile of 78s includes the confessional "I Can't Do Without You", a visionary rendition of "My Mother's Eyes" with Jack Parker singing and of course "Nevertheless". This standard had lyrics by Harry Ruby and music by Bert Kalmar and became popular following the Denny recording in 1931.  ~ Eugene Chadbourne



1918
Max Harris, piano accordion/arranger/composer
b. Bournemouth, Hampshire, UK.
Worked with both Ronnie Muro and with Jack Parnell bands.
1911
Silas Hogan, guitar
b. Westover, LA, USA  
In the collection of local Louisiana blues stars that made their mark on phonograph records bearing the Excello imprint under the aegis of Crowley producer Jay Miller, Silas Hogan was a local phenom who finally had a chance to record at a time when the commercial appeal of his sound was waning in the national marketplace. 
Hogan recorded for Excello from 1962 to early 1965, seeing the last of his single releases issued late that year. Sometime in the late '20s Silas learned the basics of the guitar from his two uncles, Robert and Frank Murphy, who later went on to influence the idiosyncratic style of Robert Pete Williams. Learning his trade by playing assorted house parties and picnics in the local vicinity, by the late '30s Hogan was working regularly with guitarist Willie B. Thomas and fiddler Butch Cage, making the local juke-joint circuit his new found home. A move to the Baton Rouge area in the early '50s brought changes to his music. Armed with a Fender electric guitar and amp, Hogan formed his first electric combo -- the Rhythm Ramblers -- becoming one of the top drawing cards on the Louisiana juke-joint circuit. In 1962, at the ripe old age of 51, Hogan was introduced by Slim Harpo to producer Jay Miller and his recording career finally began in earnest. The recordings he produced in the Crowley studio were solid, no-frills performances that mirrored the many variants of the "sound of the swamp."
After a few singles, Hogan's recording career came to an abrupt halt when Miller clashed with the new owners in 1966, ending the flow of Crowley product on the label. No longer an Excello recording artist, Hogan disbanded his group, going back to his day job at the Exxon refinery near Baton Rogue. The chance to record came around again in the 1970s, with Hogan cutting sides for labels like Arhoolie and Blue Horizon while remaining active on the Southern blues festival circuit for pretty much the rest of the decade. With as little fanfare as his Excello singles were greeted in the marketplace, Silas Hogan quietly passed away in January of 1994.



1904
Gideon J. Honore, Piano
b. New Orleans, LA, USA. d.
This pianist is badly represented on recordings, as if only one part of Gideon Honore's career was deemed worthy of documentation. That would be roughly more than a decade, beginning in 1935, augmented slightly by later releases involving live recordings. Missing are the entire '20s, during which Honore helped make a roar in Chicago through his activities as both a bandleader and solo pianist. Also hard to find are examples of the pianist's musical actions following the late '40s, a period that covers the West Coast years with noted bandleader Kid Ory, as well as a stretch of several years playing with Albert Nicholas that began in the early '50s.
Honore was just as much from Louisiana as his name sounded. His family moved north to Chicago in 1921, and it was bandleader Palmer Cadiz that provided the pianist with his first professional gigs. As a bandleader in his own right in the late '20s, Honore worked at venues such as Lakewood Hall and the Huntington Hotel. His reputation spread in the next decade, and he eventually worked behind many of the important bandleaders from the area, a list that includes the miniscule Tiny Parham, the solid Jesse Stone, and the whimsical Hosea Duff. Honore also grabbed solo piano gigs whenever there was a chance, sometimes working hotels in Canada. In the 1940 he had a quartet of his own with multi-instrumentalist Darnell Howard, and in 1944 was remembered as part of a superb band led by Sidney Bechet that toured the midwest.
By the late '40s, the pianist had relocated to the West Coast, several extensive theater tours accompanying performer Helena Jester behind him. As well as the aforementioned activity with Ory, Honore gigged at the 400 Club with Teddy Buckner. Bassist Ricky Robinson was a frequent collaborator in the '60s, a period when the pianist expanded his teaching activities considerably. Robinson and Honore worked most often as a duo. The pianist's activities after 1970 are unknown.
~ Eugene Chadbourne, Rovi



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1902
Sammy Penn, drums/vocals
b. Morgan City, LA d. Sept. 18, 1969, FL, USA.
This early New Orleans Jazzman worked with the Eureka Brass Band, Chris Kelly Brass band, Kid Rena Brass Band, and with Kid Thomas.

1913 
Roger "Ram" Ramirez, Piano/Composer 
~by Scott Yanow 
Best-remembered as the composer of "Lover Man," Ram Ramirez was a fine pianist quite capable of playing in swing, bop and trad settings. Ramirez, who grew up in New York City, started on piano when he was eight and was a professional five years later. Early on, Ramirez worked with the Louisiana Stompers, Monette Moore (1933), Rex Stewart, the Spirits of Rhythm (1934) and Willie Bryant (1935). He visited Europe with Bobby Martin's group (1937-39), had his own band back in New York and then worked with Ella Fitzgerald, Frankie Newton and Charlie Barnet (1942). After a second stint with Newton, Ramirez played with the John Kirby Sextet in 1944.  He mostly led his own trio from the mid-1940's on and began doubling on organ in 1953. Ramirez was active into the 1970's (playing with the Harlem Blues and Jazz Band during 1979-80), becoming semi-active in the 1980's and never gaining much fame except among knowledgeable musicians. Through the years Ram Ramirez led sessions for Gotham (1946), Super Disc (1947), Black & Blue (1960), RCA (1966) and Master Jazz (1973-74).
Ram Ramirez - Wikipedia




1921
Gene Roland composer/trumpet/trombone/arranger b. Dallas, TX.
Gene Roland (September 15, 1921 Dallas – August 11, 1982 New York) was a jazz composer and musician who played many instruments during his career but was most significant as an arranger/composer and for his association with Stan Kenton.
~Life and work
Roland, who gained a degree in music from North Texas State Teacher's College, first hooked up with Kenton in 1944, playing fifth trumpet and contributing arrangements. He worked briefly with Lionel Hampton and Lucky Millinder and then rejoined Kenton in 1945, this time as a trombonist and writer (he arranged the hit "Tampico"). He played piano and wrote for a group in 1946 that included Stan Getz, Zoot Sims, Jimmy Giuffre and Herbie Steward and would lead to Woody Herman's Four Brothers Second Herd. In the late 1940s, Roland played trombone with Georgie Auld, trumpet with Count Basie, Charlie Barnet and Lucky Millinder and contributed charts for the big bands of Claude Thornhill and Artie Shaw. After leading a giant rehearsal band in 1950 that included Dizzy Gillespie and Charlie Parker, Roland wrote for Kenton 1951 and Woody Herman from 1956-58, for whom he contributed 65 arrangements. Roland was a major force in Kenton's mellophonium band of the early 1960s, not only writing for the ensemble but performing as one of the mellophoniums; he also occasionally doubled on soprano sax with the orchestra.
Roland remained active as a writer in the 1960s and 70s, working with the Radiohus Orchestra in Copenhagen (1967) and contributing charts to Kenton as well as Dan Terry's D.T.B.B.B. album (Metronome Records, 1981); he also played trumpet, piano and tenor with his own groups. In addition to writing an entire album for Kenton, Roland led his 1950 rehearsal band on a Spotlite release (Parker is one of his sidemen), led half of an album (recorded in 1957 and 1959) for Dawn Records in which he plays trumpet, and arranged a 1963 octet record for Brunswick Records.

1923
Arvell Shaw, bass
b. St. Louis, MO, USA
d: Dec. 5, 2002, New York, NY, USA.
Best known for his work with Louis Armstrong's All Stars, during 1945-53 (short interruption in 1951, when he traveled to Europe to study harmony and composition), and again at various times from 1957 until Armstrong's demise in 1971. He freelanced in New York, and also played in the pit bands for Broadway shows Ain't Misbehavin' and 'Bubbling Brown Sugar', during the late 1970s and early '80s. Among the many Jazzmen with whom Arvell worked during his career are Benny Goodman, Teddy Wilson, Wild Bill Davison, Earl Hines, Coleman Hawkins, Sidney Bechet, and Barney Bigard.
1928
Bobby Short, piano/vocals
b: Danville, IL, USA. d. March 21, New York, NY, USA (Leukemia).
With his mother's permission, Bobby left home at just age 11, to perform in Chicago, IL.
He worked the midwest circuit during the 1940s, where he met such other performers as singers Hildegarde, Mabel Mercer, N at "King" Cole and pianist Art Tatum. Over the years, he has become the quintessential cabaret performer (of the 1950s - 2000s), singing Cole Porter, Rodgers and Hart, and other classic composers of the "golden age of American Popular song". In 1968, Short replaced pianist George Feyer at New York City's famed Cafe Carlyle in 1968 and become an institution, working 8 months of the year, for the next 20 or so years at that hotel.
1903
Eddie Summers, Trombone b. New Orleans, LA, USA. d. Oct. 27, 1977, New Orleans, LA, USA. This early New Orleans Jazzman worked with Eureka Brass Band, Armand J. Piron Band, and the Young Tuxedo Brass band.




Notable Events Occurring
On This Date Include:


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1930.
Composer Hoagy Carmichael
recorded "Georgia on My Mind"
(RCA Victor label). It has been the
official state song of Georgia since 1922.


1934.
NBC radio presented "The Gibson Family", the first musical comedy to be broadcast. The show originated from the New York City studios of WEAF (NBC's Blue Network Flagship startion). 


1967.
Sam Hamilton, piano died in Danville, IN, USA. Played with singer Mabel Mercer.



1975.
Leon Abbey, fiddler died in Minneapolis, MN, USA. Age: 75.

1985.
"Cootie" Williams, trumpet 
died in New York, NY, USA.
Age: 74.



1991.
Andre Baruch, Announcer
died in Beverly Hills, CA, USA.
Age: 83.
His wife was singer Bea Wain.



Songs Recorded/Released
On This Date Include:


1908


Arthur Pryor's Band
  • Virginia Two Step

1910




Haydn Quartet
  • Girl of my Dreams

1913



John B. Wells
  • My Wonderful Dream Girl

1914



American Quartet - It's A Long, Long Way to Tipperary


1919



Art Hickman and his Orchestra

1921



The Happy Six
  • When The Sun Goes Down Blues
  • Once in a Blue Moon
  • Why Dear? Intoducing: "Sweet"

Edith Wilson and Johnny Dunn's Jazz Hounds - Vampin' Liza Jane


1922


Ted Lewis and his Band

1923




Virginia Liston - Don't Agitate Me Blues
Josie Miles

Martha Copeland - The Down So Long Blues
Josie Miles accompanied by the Kansas City Five - Sweet Man Joe


Isham Jones and his Orchestra





Paul Whiteman and his Orchestra

1925



The Tennessee Tooters - 
Everybody Stomp!
1926



Jelly Roll Morton's Red Hot Peppers
Johnny Hamp's Kentucky Serenaders

Turkish Towel








Alberta Hunter
The Goofus Five










1927



Jean Goldkette and his Orchestra

1928
Memphis Jug Band - Jug Band Waltz

1929



Jimmie Noone's Apex Club Orchestra
  • I'm Doing What I'm Doin' For Love

1930



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Hoagy Carmichael and his orch.
1932


New Orleans Feetwarmers
  • I've Found A New Baby
  • I Want You Tonight
  • Lay Your Racket
  • Maple Leaf Rag
  • Shag
  • Sweetie Dear


LYRICS:

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Rockin' Chair
Lyrics & Music: Hoagy Carmichael

Old rockin' chair's got me
Cane by my side 
Fetch me that gin, son 
'Fore I tan your hide 
Can't get from this cabin 
Ain't goin' nowhere 
Just sitting here [grabbing?] 
At them flies round this old rockin' chair 
My dear old aunt Harriet 
Up in heaven she be 
Send down sweet chariot 
For the end of these troubles I see 
Old rockin' chair Judgement day is near 
I'm chained to that old rockin' chair 
Chained to that old rockin' chair



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